| Abstract |
| Visual culture in the 20th century has experienced postmodernism and pluralism. During this period the user-participation theory which diversified the significance of the text by separating signifiant from signifie had strong influence over sociocultural field. The trace of major changes in typography could be found in this theory. The goal of modernism typography rooted in literate culture was to deliver the visual information to users retaining good readability and formative features without distortion of original meaning. On the other hand, dynamic typography in digital-media era shows logicality and objectivity of the information established through literate culture inheriting synthetic communication features and expression of primary oral culture. Walter J. Ong called this circular phenomenon of media 2nd oral culture and Marshall McLuhan regarded this as distinctive changes in electronics culture. Influenced from imagery typography reinforced with postmodern social and artistic expression and coupled with expansion and circulation of media having broad scope of communication, dynamic typography is emerging as a main body to broaden the horizons of communication vehicle of time-space and emotional sphere. This study has focused on giving concrete shape to theoretical background of dynamic typography as an outcome of circular expansion media using Walter J. Ong`s 2nd oral culture theory. And also analysis of movie title sequences would define dynamic typography as a contemporary revelation of typographic expansion. Key proposition lies on proving that dynamic typography is `a new mediating language` as a media-circulation of 2nd oral culture without technology-centered view. |
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| Key Words |
| 동적타이포그래피, 구술성, 매개언어, 의미작용, Dynamic typography, Orality, Mediating language, Signification |
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